~\ %./ ,;. %/ .£&, V , c 4 A ^ l '*<» ^ vv If :< A TRIO OF EIGHTEENTH CENTURY FRENCH ENGRAVERS OF PORTRAITS IN MINIATURE OF THIS BOOK THERE HAVE BEEN PRINTED ONE HUNDRED AND SIXTY-ONE COPIES ON IMPERIAL JAPAN PAPER BEARING THE STAMP OF THE JAPANESE GOV- ERNMENT MILL AND NO LONGER EXPORTED A TRIO OF EIGHTEENTH CENTURY FRENCH ENGRAVERS OF PORTRAITS IN MINIATURE 47540 TWO COPIES RECEIVED, COPYRIGHT, 1899, BY WILLIAM LORING ANDREWS SECOND COPY, INSCRIBED TO €f)c £ocietp of ^conopPteg of $eto iorh IN RECOGNITION OF ITS EFFORTS TO REVIVE THE DECLINING ART OF ENGRAVING CONTENTS I Introduction, giving a short ac- count OF THE VARIOUS METHODS OF ENGRAVING ON METAL II A Trio of Eighteenth Century Frencfi Engravers Etienne Ficouet Pierre Savart Jean Baptiste de Grateloup hi Extracts from La Calcografia of Giuseppe Longhi iv List of Portraits Engraved by Etienne Ficouet Pierre Savart Jean Baptiste de Grateloup WITH EXCEPTION OF THE FOLLOWING, WHICH ARE REDUCED IN SIZE, THE PHOTOGRAVURE REPRODUCTIONS IN THIS BOOK ARE OF THE SAME DIMENSIONS AS THE PICTURES FROM WHICH THEY ARE TAKEN WATER COLOR BY GEORGE H. BOUGHTON. PORTRAITS OF QUEEN ELIZABETH AMELIA ELIZABETH, LANDGRAVINE OF HESSE BENJAMIN WEST W. WYCHERLY PAUL SANDBY SAMUEL PUFENDORFF MADAME DE MA1NTENON ETCHINGS BY CHARLES JACQUES AND SEYMOUR HADEN AND FRONTISPIECE TO " L'EUROPE ILLUSTRE.'' LIST OF THE ILLUSTRATIONS J. B. Bossuet .... Frontispiece Engraved by Jean Baptistc de Grateloup Title-page vii Designed and Engraved by E. Davis French On the Banks of the Hudson ... 4 After Water Color by George H. Boughton Niello 5 By Maso Finiguerra Queen Elizabeth 11 From Geminie's Anatomy, 1559 Venice 18 Line Engraving from Rogers' Poems Benjamin West 21 Stipple Engraving Landscape with Willows .... 25 Etching " a l'eau forte pur " by Charles Jacques The Towing Path 27 Dry point by Seymour Haden LIST OF ILLUSTRATIONS W. Wycherley 29 Mezzotint. J. Smith, fecit, 1793 Amelia Elizabeth, Landgravineof Hesse 34 Engraved by Ludwig von Siegen, 1642 Ann Hathaway's Cottage . . . . 37 Aquatint. S. Ireland, delt. Paul Sandby 39 Stipple Engraving Voltaire . 46 Engraved by Etienne Ficquet Samuel Pufendorff 47 Engraved by Etienne Ficquet Marie Antoinette 47 Engraved by Pierre Savart Charles Eisen 51- Engraved by Etienne Ficquet Madame de Maintenon 55* Engraved by Etienne Ficquet Frontispiece to " L'Europe illustre " 65 C. Eisen, inv. J. B. Rousseau 71 Engraved by Etienne Ficquet Catinat 75 Engraved by Pierre Savart LIST OF ILLUSTRATIONS Fenelon 78 Engraved by Pierre Savart Racine 81 Engraved by Pierre Savart Adrienne Lecouvreur 85 Engraved by Jean Baptiste de Grateloup Dryden 89 Engraved by Jean Baptiste de Grateloup La Fontaine 98 Engraved by Etienne Ficquet Saint Joseph 99 Engraved by Longhi Tail Piece 107 P. P. Choffard, fecit INTRODUCTION -iytr?-,, Water <7o for £y Geerye JZ. 3?otep&fern -A'yJ The " Baptism of Christ." — Niello ascribed to Maso Finiguerra.* WHETHER the art of taking impressions on paper from engraved metal plates was born and cradled in sunny Italy or in a more north- ern and less genial clime, is a question not suscept- ible of positive solution, and, like the origin of wood-engraving, remains veiled in the mists of * From a print in the collection of Mr. Junius S. Morgan. 5 INTRODUCTION the past. Vasari ascribes the discovery, which was only second in importance to that of movable metallic types, to Maso Finiguerra, a Florentine enameller, goldsmith and worker in niello* (a very ancient and beautiful art), who, about the middle of the fifteenth century, disclosed the invention to his compatriots, Baccio Baldini, Sandro Botticelli, and Andrea Mantegna, by whom, especially the latter, the new art was developed and advanced until it shone forth in full refulgence in the work of the great master, Marc Antonio Raimondi. John Gutenberg of Mentz, "premier maitre im- primeur," printed his Latin Bible, the wonder of all succeeding ages, between the years 1450 and 1455, so that the transition from engraving on wood to engraving on metal followed closely upon, if it were * Niello, nielle, a design in black on a surface of silver, as that of a plaque, chalice, or any ornamental or useful object, formed by engraving the design and then filling up the incised furrows with an alloy, composed of silver, copper, lead, crude sulphur and borax, thus producing the effect of a black drawing on the bright surface. The process is of Italian origin, and is still extensively practiced in Russia, where the finest niello is now produced. In many examples, conversely, the ground is cut out and inlaid with the black alloy, on which the design appears white or bright. — The Century Dic- tionary. 6 INTRODUCTION not co-eval with, the change from wooden blocks to metal types for letter-press printing. The invention of the art of engraving on metal has been accounted for by the " usually inaccurate Vasari," as he has been styled, in the following manner: By accident a package of damp linen was laid upon a silver plate ready to be "niellee," into the incised lines of which oil and soot had been rubbed in order to show the effect of the work. Upon removing the linen its weight and moistness were found to have caused the lines of the engrav- ing to be accurately reproduced upon it; * and so, for this great discovery we are indebted, it may be, to the carelessness of a laundry maid. Other writers tell us that the "orfevres-nielleurs" were * A mold of the engraving was taken in fine earth, and from this mold a sulphur cast. This cast was a counterpart of the silver, though in another substance. It was rubbed with soot and oil until all its cavities were filled with black, and the surface of the sulphur being then cleaned, the artist was enabled to see precisely what the effect of his silver engraving would be when it should come to be filled with black in like manner. This practice led to the taking, occasionally, an impression on wet paper from the plate itself. This was effected by rubbing the silver with soot and oil till all the graved work was filled with it ; then wiping the surface, laying on it a piece of damped paper, and rolling it by hand with a round smooth roller. — Maberly's " Print Collector." 7 INTRODUCTION long in the habit of taking impressions from their engravings on silver plates before filling them with the deep black metallic alloy known as niello. This was done at first with fine earth and sulphur, but it was found that proofs could be taken upon dampened paper, and this ultimately led to the invention and use of metal plates for producing prints. Like every other art, it was in some measure an evolution and in part, no doubt, an accidental discovery, and Finiguerra appears to have been the fortunate one who was first able to demonstrate its utility. Germany disputes with Italy its claim to be the birthplace of chalcography, and points with the finger of pride to the indisputable fact that the cop- per-plate as well as the typographic press was first in use within her borders. The "ingenious and laborious " Baron Heinecken is willing to divide the honors, and suggests that, owing to the lack of intercommunication between the two countries, the art of engraving might have been long practiced in Germany and unknown in Italy, and that Finiguerra might have discovered the Art without knowing that it had already been discovered in Germany. INTRODUCTION The Abbe Zani, who unearthed the unique proof of the first engraving known to have been printed by Maso Finiguerra, in 1432,* and the well-known au- thorities on ancient prints, Ottley and Bartsch,f how- ever, concede the priority of discovery to the Italians. The earliest copper-plate engravings extant of Teutonic origin are the productions of two anony- mous artists, known as the " Masters of 1464, and 1466 and 1467," but the first engraver to exert a marked influence upon the Art was Martin Schoen, or Schongauer (born circa 1420, probably at Augs- burg), who is by common consent the acknowl- edged father of the German school. His contem- porary, Michael Wohlgemuth, who may or may not have practiced the art of engraving on copper, en- joys the all sufficient distinction that he was the master, in painting, of Albert Durer, the incompar- able burinist, who carried engraving to a "per- fection which has since been hardly surpassed," *The first impression upon paper of an engraving upon metal — a proof of the Paix niellee in 1452 by Maso Finiguerra — was discovered at Paris in the Bibliotheque du Roi in 1 797 by the Abbe Pierre Zani. Duchesne Aine, " Essai sur les Nielles/' Paris, 1826. f Author of " Le Peintre Graveur"and the first to apply the word niello to a print from a niello engraving. INTRODUCTION and brought to the old Burgher city of Nuremberg never-fading glory and renown. Wohlgemuth was born at Nuremberg in 1434. In conjunction with William Pleydenwurff he designed and super- intended the engraving of the wood-cuts for the Nuremberg Chronicle, the great picture book of the middle ages, printed by Antony Koburger in 1493. The new-born Art traveled in leisurely fashion to Great Britain and France, and the first English copper-plate engraver of whom there is an authen- tic account, according to the engraver and antiquary George Vertue, was Thomas Geminus or Geminie, a printer, publisher, and philomath, as well as an engraver, in the time of Henry VIII. who dwelt in Blackfriars, London, whence he published "Prog- nostications of the weather and Phenomena of the heavens with cuts." The earliest engravings ascribed to him — "Illustrations to a translation of Vesalius' Anatomy" — are dated 1545, forty years after Diirer produced his "Adam and Eve." The first book printed in England with copper- plate illustrations was Richard Jonas' " Byrth of Mankynde," published by Thomas Raynalde in 1540, Jro/n (Ae Oriot'natEnai-avino in a &>py of Geminies Anatomic le/ongina to'JJTStockionJicKyh INTRODUCTION and dedicated to Catherine Howard, fifth wife of Henry VIII. The earliest French publication in which cop- per-plates appear is said to be a translation of Bern- hard de Breydenbach's celebrated account of his pil- grimage to Jerusalem,* entitled " Des Sainctes peregrinations de Jerusalem et des lieux circonvois- ins, Lyons, 1488," but the illustrations it contains were probably engraved in Germany, and the first French engraver deemed worthy of mention by writers upon the subject was Jean Duvet, sometimes called the Master of the Unicorn, who was born at Langres, some assert in 1485, others 15 10. Duvet or Danet was a goldsmith by profession — a vocation which has proved a natural and very customary stepping-stone to the practice of chalcography, ever since it first led, as we have seen, to the discovery of the Art. Duvet engraved the works of Jean Cousin, who may be regarded, says Bryan, in his "Dictionary of Painters and Engravers," as the founder of the French School of Painting. His first * For a full description of this remarkable work, which is prob- ably the first book of travels ever printed, see Dibdin's " Bibliotheca Spenceriana." Vol. Ill, page 216. >3 INTRODUCTION occupation was glass painting, and the windows of the choir of the Church of St. Gervais in Paris are considered his masterpieces. Thus it appears that this art for the " multiplica- tion of drawings " which brought to the artist in his studio a measure of the marvelous reproductive power which the Printing Press bestowed upon the author and the scribe, flourished for little more than four hundred years. The middle of the fifteenth century witnessed its rise, the closing years of the nineteenth its decline and fall. For the ready reference of those who may not have a special knowledge of the technique and nomenclature of this resourceful reproductive art, we append to these few words of introduction a description, elementary in character and necessarily brief and concise, of the principal methods by which prints are produced from engraved metal surfaces, and also give the English terms used to denote the different styles of engraving and their equivalents in French as they have become in a measure interchangeable in artistical parlance. Line engraving — gravure au burin. Copper- plate engraving — gravure entaille douce. m INTRODUCTION This is preeminently the first and the most laborious and costly method of engraving on metal, and requires the exercise of the greatest patience and highest mechanical skill. It may be and generally is begun by the etching process, but when this is not employed the plate of silver, copper or steel (the "age of steel" in engraving, dates only from about the year 1823) is first given a surface which is per- fectly smooth and highly polished. It is then heated and rubbed over with wax so that when cooled it is coated with a white film. When the engraving was to be of smaller dimensions than the picture of which it was to be a translation, the reduction was made — before the days of photography, by a complicated method of corresponding squares. When the engraving is of the same size as the original the task is much simplified. A very exact tracing, " calq.u e, " of the picture to be copied is made with a sharp point upon " papier -glace, " a composition of gelatine. This tracing is filled with black lead or red chalk, then laid, face down, upon the plate and pressed or rubbed with the finger until a counter impression upon the prepared surface of the plate is obtained. The engraver goes over '5 INTRODUCTION with his steel point, the lines of the drawing thus transferred, exerting sufficient pressure to penetrate the wax and leave the design faintly traced upon the metal beneath, or the outlines of the design may be marked out by innumerable points or pin holes. This accomplished, the wax is melted off the plate, the surface cleaned, and the engraver proceeds with the burin or graver (a tool which has a lozenge- shaped point and makes an angular incision) to complete the engraving. The burin is handled in various ways, according to the nature of the object the engraver desires to imitate, by cross-hatchings, undulating or straight lines, and dots in the spaces formed by the intersection of these lines. Flat tints, such as a cloudless sky or a calm sheet of water, may be put in with a ruling machine — a compara- tively modern invention, not much in use before the present century — which engraves parallel lines either straight or curved, as may be desired. Usually "the lines are cut through an etching ground, and bitten to the required depth with acid." Mr. T. H. Fielding, in his very useful work on the " Arts of Engraving" gives the following minute instructions for handling the burin in line engraving : 16 INTRODUCTION "In engraving cloths of different kinds, linen should be done with finer and closer lines than other sorts and be executed with single strokes. Woolen cloth should be engraved wide in proportion to the coarseness or fineness of the stuff, and when the strokes are crossed the second should be smaller than the first, and the third than the second. Shin- ing stuffs, which are generally of silk or satin, and which produce flat and broken folds, should be en- graved more hard and more straight than others, with one or two strokes as their colors are bright or otherwise; and between the first course of lines other smaller ones must be occasionally introduced, which is called interlining. Velvet and plush are expressed in the same manner, and should always be interlined. Metals, as armor, etc., are also rep- resented by interlacing, or by clear single strokes. In architecture, the strokes which form the rounding of objects should tend to the point of sight, and when whole columns occur, it is proper to produce the effect as much as possible by perpendicular strokes. If a cross stroke is put, it should be at right angles, and wider and thinner than the first stroke. The strokes ought to be frequently discon- '7 From Rogers' Poems, Page 95.— Cadell's Edition, London, 1834. tinued and broken for sharp and craggy objects. Objects that are distant, towards the horizon, should be kept very tender. Waters that are calm and still are best represented by strokes that are straight and parallel to the horizon, interlined with those that are finer, omitting such places as in consequence of gleams of light exhibit the shining appearance of the water; and the forms of objects reflected upon the water at a small distance from it, or on the banks of INTRODUCTION the water, are expressed by the same strokes re- touched more strongly or faintly as occasion may require, and even by some that are perpendicular. For agitated waters, as the waves of the sea, the first strokes should follow the figure of the waves, and may be interlined, and the cross strokes ought to be very lozenge. In cascades the strokes should follow the fall and be interlined. In engraving clouds, the graver should sport where they appear thick and agitated, in turning every way according to their form and agitation. If the clouds are dark so that two strokes are necessary, they should be crossed more lozenge than the figures, and the second strokes should be rather wider than the first. The flat clouds that are lost insensibly in the clear sky should be made by strokes parallel to the horizon and a little waving: if second strokes are required they should be more or less lozenge, and when they are brought to the extremity the hand should be so lightened that they may form no outline. The flat and clear sky is represented by parallel and straight strokes." •'It is especially in their exquisite skies," says Philip Gilbert Hamerton, "that the line engravers <9 IN T RODUCTION are beyond rivalry by etchers." All etched skies that he had seen, not excepting the best of Haden and Rembrandt and even Claude, are either rude or simple in comparison with such skies as the best in Rogers' Poems (considered by critics as the "high water mark in human attainment"), and Plates 63, 66 and 67 in the fifth volume of " Modern Painters." " A skillful etcher such as Haden or Meryon may give very intelligible hints of the mental emotion felt by him in the presence of some splendid natural sky, but he cannot render the sky itself, the evanescent delicacy of the cloud-forms, their melting imperceptible gradations. But the engravers have truly made plates of copper yield images as closely resembling skies as the absence of color and feebleness of art's light may admit of ; they have done more than suggest, they have repre- sented." Stipple — au pointille. This is a very direct and comparatively easy process, which fact may in a measure account for its early and widespread popularity. The outline of the engraving is some- times dotted in with a punch and mallet, but the dots are more often made with a needle through ~^*t6ri*f ■j'/uart /?tnjrir Ii J-; n.iam i x We st Esq ^ INTRODUCTION etching ground and afterwards increased in size with the graver as the shading requires — and they are quite as often executed entirely with the graver, frequently with minute cuts in different groupings. Stipple engraving is said to have been invented by Bylaert, a painter and engraver of Leyden, although dotting is to be seen in the works of Albert Diirer and other early copper-plate engravers. It was a favorite style of engraving with that celebrated and prolific Italian artist Francesco Bartolozzi, who car- ried it to great perfection, and the style was also adopted by a number of our own engravers early in this century, many of whose portraits are engraved in either pure stipple or in line and stipple. This manner, as well as that of its twin brother art, Chalk engraving,*— gravure en maniere de crayon, was introduced into England by Wil- liam Wynne Ryland, a pupil of the celebrated French artists Simon Francis Ravenet and Fran- cis Boucher, and also of Jacques Philip Le Bas, * Chalk engraving is merely the imitation of chalk drawings by means of stipple engraving. The grain which the chalk leaves on the paper is imitated by irregular dots of varied forms and sizes, and the whole process is the same as stipple engraving. — Fielding's " Art of Engraving." INTRODUCTION in whose atelier in Paris he must have been a camarade d'ecole of Etienne Ficquet, the French engraver in miniature, who is to claim our attention hereafter. Etching — gravure a l'eau forte. A method of engraving first practiced in the early part of the sixteenth century, in which the lines are produced by the action of a mordant on steel, zinc, iron or copper, although generally the latter material is used. The plate is covered with a varnish technically called a ground, made of asphaltum, wax and pitch, evenly blackened with candle smoke. The design is drawn with steel needles, varying in size, so as to yield broader or fainter lines, which cut through the varnish and leave the plate bare where the lines have been traced. Acid is then poured on the plate and allowed to remain until it has bitten the parts exposed to its action to the requisite depth. The mordant usually employed in etching on copper is nitric acid — aq.ua fort is, but a so-called Dutch mordant composed of muriatic acid and chlorate of potash is also used. As for the needle, anything, says Hamerton, in the shape of a pencil with a hard point will do for an etching needle, and 24 " Landscape with Willows."— Etching by Charles Jacques. Turner, we are told, used the prong of an old steel fork. A line engraving, it has been said with truth, personates the art in her full attire of ceremony and state, while an etching shows art at her ease — art in deshabille, perhaps, but never a slattern, the author of the above sentiment is careful to add. Dry Point — A la pointe seche. In this simple process, which is but one remove from draw- ing on paper with a pencil, the design is scratched directly on the bare copper with a tool similar to an etching needle. The bur or " barbe " raised by the cutting is either left undisturbed to catch the print- ing ink and produce an effect which resembles mez- 25 INTRODUCTION zotint — and "dry point " has been called mezzotint inline — or it is removed with a burnisher and the incised line left to receive the ink as in the ordinary etching process we have just described. As the raised lines are but very delicate wiry ridges of cop- per they speedily wear away, or, as Georges Du- plessis observes in his " Histoire de la Gravure," "promptly disappear," and very few good impres- sions — not more than twenty-five or thirty at the most — can be taken from a "dry point" in which the effect depends upon the bur. On the other hand, the very earliest impressions may be overladen with bur. "Dry point" is frequently employed as an auxiliary to etching with acid, and is generally spoken of as etching, but strictly speaking it is engraving. The strong points of etching in comparison with other arts, writes Mr. Hamerton in his " Etching and Etchers," are its great freedom, precision and power. Its weak points may be reduced to a single head. The accurate subdivision of delicate tones, or, in one word, perfect tonality, is very difficult in etch- ing; so that perfect modeling is very rare in the Art, and the true representation of skies, which 26 feifet "The Towing Path."— Dry Point by Francis Seymour Haden. depends on the most delicate discrimination of these values, still rarer. For the whole art of etching the reader is referred to the well-known treatise above quoted ; we shall add here only a few lines from Mr. Hamerton's work descriptive of the process known as soft ground etching. "The common etching ground is softened by the addition of tallow. It is then covered with a sheet of very thin paper upon which the design is drawn with a lead pencil. When the paper is removed it takes up with it a certain quantity of the ground, leaving the copper nearly bare in the lines, the paper having caused it to be removed partly, and partly 27 INTRODUCTION left in a granulated way. The plate is then bitten and stopped out in the ordinary manner, and on taking a proof it will be found, if the work has been properly done, that the impression strongly resem- bles the pencil drawing." Mezzotint — gravure a la maniere noire, or en demi-teinte. This and pure line engrav- ing are the aristocrats of chalcography. A pure mez- zotint is moreover the nearest approach to nature of any of the products of the Arts of engraving, inas- much as it presents to the eye masses of light and shade, forms without lines. No other art but that of painting can render so faithfully as does a mezzotint the glow on the cheek of beauty, the soft texture, the sheen, and the graceful folds of a lady's gown or the brilliant lustre of the armor of her belted and " veray parfit gentil knight." An aquatint comes next, and is a close second in the depiction of landscapes, but in "figures" and "interiors" it is far and away surpassed by the mezzotint. The ground, so called, in a mezzotint is laid with an instrument known as a cradle or rocker, "berceau," which ends in a row of fine points which are forced into the plate by rocking back and INTRODUCTION forth, producing no lines, but a continuous mat or bur, which when complete would give, if an im- pression were taken from the plate in this state, a sheet of the deepest black. The scraper— r a c l o i r— removes this bur to a greater or less degree and gives the various tones required in the shading, and the burnisher* is used on the parts which are to show as white— the high lights of the engraving. The bur or ground is left nearly or quite undisturbed in the darkest shadows, and completely removed in the highest lights. * The processes of burnishing and polishing and their different effects upon a plate— one non-injurious, and the other gradually destructive— are thus stated by Mr. E. Davis French, who has kindly given the writer the benefit of his practical knowledge of the Art of Engraving : " Burnishing is done by rubbing the surface of a metal with a harder substance which is perfectly smooth and bright, and thus forcing down all the little inequalities of the metal to a surface as smooth as that which is rubbed against it. Nothing of the metal is removed ; the particles which compose its surface are simply forced closer together. Polishing is effected by rubbing the metal with some fine powder, like flour of emery, tripoli, or rouge, which grinds down the metal to smoothness by taking away the surface rrlore or less. In printing, the plate is polished with whiting on the palm of the hand. It is this, together with the carbon in the ink, which gradually wears out a plate, and before the invention of steel- facing, materially limited the number of good impressions which a copper-plate was capable of yielding." 1NTR ODUCTION Mezzotintoing produces rich, velvety and per- fectly uniform tones, ranging from intense black to brilliant white, and shows, where desired, the sharp- est contrasts between these two extremes. The defect in the process, if it be one, is that it does not admit of sharp and clear delineation of forms; hence in modern mezzotintoing the outlines are some- times strongly etched in before the cradle is used and texture is given to the plate with the dry point. Formerly plates were finished in pure mezzotint and most beautiful results obtained — pictures which are to this day eagerly sought for by connoisseurs, and are among the highest-priced products of the engraver's Art. The introduction of this style of engraving has been erroneously ascribed to Prince Rupert,* but it was in reality invented in 1643 by Ludwig von Siegen, a lieutenant-colonel in the service of the Landgrave of Hesse, and is said to have been sug- * Robert de Baviere, born at Prague, 1619, was a nephew of Charles I of England, his mother, Elizabeth, eldest daughter of James I, having married Frederick V, Elector Palatine and King of Bohemia. Prince Rupert passed much of his life as a soldier and sailor in England, and fought for the King at Marston Moor. He died in London in 1682. 32 Amelia TElisabetha.b.g.Massm, LanberaviahJ. COM1TISSA MAWOVia MVNTZENS : %?wm ^yp^--^ : _ j .. -.-~„, ~ r^te*^*^^^ " House at Shotery, in which Ann Hathaway, the Wife of Shakespere, resided." — Aquatint, after Ireland. orates, and leaves the rosin spread over the plate in minute grains. Acid is then poured gently but freely over it, and attacks the copper surface through the imperceptible interstices of the rosin, producing the effect of a wash of color. Aquatinting (as also printing in colors) is said by Jansen to have been invented in 1660 by Hercule Zegers, a painter of Utrecht, a cotemporary of Paul Potter and pupil of Rembrandt. It was practiced by the French Abbe R. de St. Non, an amateur engraver in the eighteenth century, and was perfected by Jean Baptiste le Prince (1733-1781). It was introduced into England by 37 INTRODUCTION the Father of Water Color Art — as he has been called — Paul Sandby (1725-1809). The series of landscape plates which Sandby engraved in aquatint after his own drawings, attracted the attention of Turner, and the first plate for the " Liber Studiorum " was engraved in this manner, but a quarrel with F. C. Lewis, his aquatint engraver, resulted in the adop- tion by Turner of the mezzotint method. Aquatinting is a beautiful but difficult process of engraving, invented, some one has said, for the "torment of man." It was much in vogue for a time in the early part of this century, but it has never been so extensively practiced as any one of the other styles of engraving we have passed in re- view. Colored prints may be obtained from a copper- plate engraving by applying with the finger, a brush, or a rag, inks of the desired tints to the different parts of the plate (see page 4), but it becomes a tedious and expensive operation when an attempt is made to use more than two colors. Colored prints are also produced by the use of four or five plates from which are printed in succession a black (or bistre) and the three colors, red, blue and yel- ?8 Paul Sandby, Esq. , F. R. A.— Stipple engraving by Pollard. low. The difficulty in this process is to register the plates by means of points in the margin, so that they will print with the extreme exactness required. Xylography — g ravure en taille de bois. The elder sister of Chalcography. The art which a German, Albert Diirer, raised to eminence, and an Englishman, Thomas Bewick, restored after its de- cline in the seventeenth and eighteenth centuries. 39 INTRODUCTION There is but one method of engraving on wood* and it is directly the reverse of engraving on metal; one is a cameo, the other an intaglio. In a wood engraving the design is cut in relief; whereas in a metal engraving it is sunk in incised lines. The impression from a wood engraving is procured by inking the raised surfaces which form the design, and the ink must be thicker than that employed in copper- or steel plate printing, in order that it may lie upon the surface of the block without filling up the hollows. Printing from wood blocks is similar to printing from types and is generally done simul- taneously, as woodcuts are used principally for illustrations in the body of a printed text. In a metal engraving the incised lines are filled with ink: the plate is then cleaned and polished, and this slow and careful manipulation must be repeated after each impression is taken. It will thus be seen that printing from a copper- or steel plate is a much more tedious operation and requires greater care and dexterity than printing from a wood block. The durability * Sycamore and pear are the woods used for large, coarse cuts, and boxwood which has been seasoned from one to two years for the finer engravings. 40 INTRODUCTION of a woodcut is vastly greater than that of any form of copper- or steel plate engraving. Jansen, author of an "Essaisur l'Origine de la Gravure," Paris, 1808, a standard work which we have already quoted, states that a plate engraved in line, planche gravee a u burin, should give, when the engraving is not very fine, from seven to eight hundred good impres- sions, according to the quality of the copper. An etching, planche gravee a l'eau forte, will furnish little more than two hundred good proofs, while from a wood engraving an hundred thousand impressions may be taken; and he quotes a state- ment of M. Papillon in his "Traite de la Gravure en Bois" (which is worthy of Baron Munchausen) : that one million impressions had been taken from a wood block and it was still fit for service. It must have been one of the "planks" which the fifteenth- century wood-cutters carved with a knife and chisel. Lithography — lithographie is a chemical and somewhat involved process invented about one hundred years ago by a Bavarian, Alois Senefelder, the son of an actor at the Theatre Royal at Munich, and depends mainly upon the fact that oil and water will not mix. The design is drawn upon a compact 4> INTRODUCTION fine-grained stone found principally in Bavaria, with a crayon which contains grease. The lithographic ink adheres to the design drawn with this prepared pencil, but is repelled from the wetted parts of the stone not covered by it. Lithographic chalk is made of common soap, tallow, virgin wax, shellac and lampblack, and lithographic ink is composed of the same ingredients, but combined in slightly dif- ferent proportions. These are the principal methods employed up to the middle of this century for producing prints from engravings on metal, stone and wood. With two exceptions — namely, etching and lithography — they have fallen, even with the aid of photogenic draw- ing, into well-nigh complete disuse, and chalcog- raphy without photography as an intermediary, may be said, without fear of contradiction, to be a lost art, "mort dans les bras du commerce." 4: A TRIO OF EIGHTEENTH CENTURY FRENCH ENGRAVERS OF PORTRAITS IN MINIATURE Vela Tourpmx 7 ,3t E Ftajuet yfculp j y 6 'z V LTAIRE, t.HStraid M /-/ > s- , ■ , .'//^ ,-,/,/f^y'j A TRIO OF EIGHTEENTH CENTURY FRENCH ENGRAVERS OF PORTRAITS IN MINIATURE I '^^/'.-//c J$%u<£foe"/777. ETIENNE FICQUET Third State. With the address of the "rue d'Anjou, la derni- ere porte-cochere a gauche, entrant par la rue Dauphine au premier "and also that of " rue des Mathurins che{ M. Jombert." Fourth State. With the address of the "rue des Postes, cul-de- sac des l^ignes." Fifth State. With the ornaments of the engraver Babel added in passe-partout. Sixth State. The address effaced.* Here we have the inside history of the Odieuvre coilection of portraits. It is the old familiar story: most copper-plates, and wood blocks as well, have been pressed into service until they were worn to mere phantoms of their former selves, then retouched and furbished up and started off upon a new career to entrap the careless and unwary. The reveren- tial care with which some of the Parisian publishers of engravings shield and cherish in their infirm old age these remnants of former vigor and beauty ex- cites our unfeigned admiration. Ficquet died December n, 1794, at the age of seventy-five. He produced one hundred and sev- enty-five different portraits, namely, thirty-four for Odieuvre, thirty-nine various, and one hundred and * All the portraits of Odieuvre do not exist in six states, but most of the engravings by Ficquet should have them. 67 A TRIO OF FRENCH ENGRAVERS two "little marvels" for La vie des peintres Flam- andes Allemands et Hollandais, avec des portraits graves en taille douce by J. B. Descamps. Published at Paris cbe^ Charles-Antoine Jombert, librairc du roi pour I'artillerie et la genie, rue Dauphine, a I 'image de Notre Dame mdccliii, 4 vols, in 8vo. The four volumes were not published simul- taneously, the last not until 1763. In consequence the first volumes were somewhat worn and perhaps partially destroyed when the last two appeared, so, in order to make the work uniform throughout, Jombert reprinted the first two volumes which con- tained thirty-two portraits engraved by Ficquet. Here is another wheel within a wheel, and collectors must seek the first two volumes of this work which bear the early date, and avoid the reprint of 1763, in order to secure good impressions of all the prints. The copper-plates of this collection of portraits were in existence in 1864 and probably are still. Many of Ficquet's copper-plates (retouched from time to time), in addition to those in the Odieuvre and Descamps series, are still in the hands of Pari- sian book and print sellers, where they have been lodged ever since impressions from them were of- 68 ETIENNE FICQ.UET fered for sale in 1777, at three francs each, by Prevost, graveur, rue St. Thomas, pres la porte Saint-Jacques; and modern ' ' restrikes " from a number of the most desirable — or, as an extra illustrator of books would say, useful — portraits, such as those of La Fontaine, Rousseau. Montaigne and Descartes, may conse- quently be made as thick in Paris as peas in a pod or autumnal leaves in Vallombrosa whenever a de- mand for them arises. Pierre-Francois Basan, author of the Dictionnaire des Graveurs Anciens et Modemes (Paris, 1789), possessed a varied assortment of plates engraved by celebrated artists (among them some by Ficquet and Savart), a round half hundred of which he inserted in his work to give an idea, as he says, of the tal- ent of these various engravers; but he considerately offers the book for sale with or without these illustrations. As they are mostly naught but "faint, shadowy semblances " of pictures, the amateurs, de bon gout of those days doubtless availed them- selves of this option and took the work sans gravures. Of all sad things in graphic art, one of the saddest is a print from a worn out copper- plate. Engraved plates never grow old gracefully. 6q A TRIO OF FRENCH ENGRAVERS "Time writes wrinkles on their brows " and " crops the roses from their cheeks," and the finer and more beautiful they are in their first state, the poorer and more decrepit they become in the last. A broadly and deeply cut plate will, of course, not show wear and tear like one composed of delicate lines, and so long as it endures will present a comparatively respectable appearance. Good early impressions of Ficquet's engravings with full lettering can be procured for from forty to fifty francs each, except the portraits of La Fontaine and Moliere, which, on account of the popularity of the subjects, are somewhat higher priced. Proofs lettre grise (open letter) bring from seventy-five to one hundred francs. Needle proofs, i. e., with the name of the artist only scratched in with the needle, are valued at from two to three hundred francs, and trial proofs (eau forte pur) four to five hundred francs. If, however, we are correctly informed in regard to Ficquet's peculiar manner of engraving, we do not quite comprehend how there can be any eau forte pur, strictly speaking, of his prints. More than one-half of the one hundred and sev- enty-five portraits engraved by Ficquet are of Dutch, 70 slrtt/ PmaSt ? i7-ie. J E AN- B APTISTE DE GRATELOUP times in about twice as many years. Here all traces of him are lost and he disappears from our view as completely as if, wearied, disheartened, and an- ticipating Georges Duplessis's unfavorable verdict upon his art, he had plunged into the sullen waters of the river which flowed past his dwelling, and been carried by its current into the cavernous depths of the sea. Jean-Baptiste de Grateloup, a French savant " who practiced engraving simply for amuse- ment" and the most gifted and accomplished of this trio of engravers in petit format, was born February 25, 1735, of noble parentage, at Dax, an old Roman town in the Pyrenees, near Bayonne, noted since ancient times for its hot saline baths and still a resort for invalids. Grateloup re- ceived his education at the college of the " Barn- abites" in his native town, and upon the com- pletion of his studies in 1757, removed to Bordeaux. In 1762 he repaired to Paris, where he not only practiced with signal success the arts of painting, sculpture and engraving, but became a busy man of affairs and the head of a large establishment 83 A TRIO OF FRENCH ENGRAVERS which dealt in jewelry and precious stones. The engraving of the nine portraits which constitute the entire product of his burin was merely a pastime in which he occasionally indulged, and it is estimated that he employed only six months of ordinary labor in engraving them all. Like Ficquet, Grateloup was myopic; but unlike that fortunate individual, whose natural force con- tinued unabated to the end of his days, and whose last portrait — that of Ariosto — engraved when he was seventy-five years of age, is as good as his first, Grateloup was compelled to abandon the practice of the art of engraving in early life, on account of a cataract which deprived him of the sight of one of his eyes. The last strokes of his burin were the finishing touches upon his " Bossuet, en pied," en- graved in 1 77 1, when he was thirty-five years of age, and when we examine this portrait, writes Georges Duplessis, we are not surprised to learn that the engraver died blind. This affliction did not, however, oblige Grateloup to abandon immediately all artistic pursuits. He modeled with exquisite skill in wax, painted enamels which rivaled those of Petitot, and designed the rich parures which his 84 \H<°/?}-esented in t/ar role or COfiACEL/A in Ccrncillt!s'3fc-rT dc'I' o*C. liTIENNE FICQUET clearly and firmly cut: To the strongest and most myopic naked eye they are, in many instances, absolutely imperceptible. The head, in accordance with the fashion of those times, is covered by an immense wig, in which the curls and tufts of hair falling upon the shoulders and chest are of most natural softness and splendor. Around the neck is a tie of the finest linen most elaborately treated and remarkable for the almost invisible thinness of the lines and points by which it is formed. The face (no larger than the nail of my index finger) is designed, or, more correctly speaking, modeled with the ut- most veracity : the mezzotint parts being produced by points in the style of the best chalcographists, while the shaded dark parts are produced by con- tinuous and equidistant cuts. But a real miracle of art which the non-professional could neither detect nor comprehend, is the truly incredible care and dexterity with which the eyes have been engraved : In the etchings of Woollett may be found points of aqua fortis larger than these pupils, and yet in so small a space Ficquet had the courage to introduce six lines around the iris the width of which occupy more than a third of the pupil itself, and he turned ETIENNE FICQ.UET these lines smoothly, restricted them gradually, tapered them off toward the luminous point, and recentered them in the same scarcely visible grooves, without allowing them to interfere one with the other. "Who can tell the great amount of work and labor which such microscopic things (compared to which the human fingers appear colossal) must have cost the artist who executed them, if a simple de- scription of them has given me so great and difficult a task ? Perhaps some connoisseur and lover of art will accuse me of indulging in too many trilling de- tails: but it will certainly not so appear to one who has — like me— tried to engrave if not with the same, with approximate fineness. He only can appreciate its worth. He knows what a lynx eye is required even with the help of the magnifying glass, and how the magnifying glass produces discomfort and in- convenience during the work should it be too con- vex. He knows well that a hand, if not of the steadiest, could certainly never succeed in placing the point of the burin at the required equidistance between one cut and another, much less trace those incomprehensible grooves in engraving where the ETIENNE FICQUET graver scarcely touches the surface of the copper, and the artist, during the operation, holds his breath and almost stills the pulsation of his heart in his anxiety to avoid a weak or trembling hand. He knows that the temper and sharpness of steel which will suffice in ordinarily delicate engraving are in- sufficient for the fineness of a stroke of so high degree: and realizes the necessity of reducing the burin to a more pointed, keener edge, which re- quires a point of stronger temper (often difficult to obtain) and infinitely thinner and finer, so that it will neither bend nor break easily. "This remarkable fineness and accuracy of work in the beautiful portraits of Ficquet produce upon the eyes a most pleasing effect: they have what may be called a velvety shade, and no other manner of engraving could produce a like effect. It is the triumph of the graver, and of the graver only. A line bitten with aqua fortis in the middle of such work would be like a coarse thread of wool upon a fine silk cloth. . . . "Therefore, I repeat, if the delicacy of a stroke or line constitutes in itself the whole merit of an engraving, then Ficquet must be considered first ETIENNE F1CQ.UET among the firsts. But in one respect his portraits, being merely careful repetitions (in smaller propor- tions) of engravings or etchings of former masters, do not possess chalcographical originality; and in another respect such a very minute stroke, while appropriate to small busts, would be entirely out of place in figures of larger dimensions. Consequently, while he may not be the first in complex engrav- ing, he is certainly unrivaled, unique and wonderful in one most difficult branch of the art. "The portrait of La Fontaine, about which I have spoken at such length in this article, is undoubtedly the finest engraving by Ficquet, although amateurs often award the first place to those of Madame de Maintenon, Rubens and Van Dyck. But the La Fontaine portrait is verily the test by means of which to comprehend the superiority of engraving by the burin over all other methods of engraving ever in- vented. In the beginning printing was done by engraving solely with the burin; then followed the use of aqua fortis, helpful to the burin in the prepara- tory steps, but almost incapable of standing by it- self. Then, with aqua fortis, the graver and the 103 ETIENNE FICQ.UET point, a method was introduced to imitate lead pencil. This system was called engraving al gran- ite (stipple), and produced very elegant prints, es- pecially those from the hand of Bartolozzi and some others of his rank; but, naturally, they could not be compared to engravings with the burin in taglio dolce {taille douce), as they lack art and faithfulness of pictorial representation. . . . " I will not speak of the mezzo-tinto engravings (so liked and admired, especially by amateurs), which system was brought to the greatest perfec- tion by Richard Earlom; nor of the aquatints (by which, in Paris, principally through the merit of Jaset, great and beautiful prints were produced), because, compared with the best productions of the burin, they impress one as monotonous and lacking chalcographical vivacity. "It remains only to speak of the lithographic system, invented in recent years and widely adopted throughout Europe for its apparent facility ; and on account of this very facility any designer presumes himself to be an engraver without previous prepa- ration. A wrong presumption this, however, be- cause a special and peculiar training is absolutely 104 ETIENNE FICQ.UET necessary on account of the difference between pa- per and stone, between the common lead pencil and the lithographic pencil (the pencil especially adapted to the lithograph). " This system has made remarkable progress, due more to the perseverance of the printers in their efforts to succeed than to the ability of the designer; the most beautiful lithographs reach the acme of perfection when they succeed in producing the same effect as a good chalcographic print in granito (stip- ple) ; but as stipple can never emulate the graceful copper-plates of Wille, Balechou, Drevet and, least of all, those by Ficquet, therefore no other method of engraving, especially the lithograph, could aspire to reach the qualities of the portrait of La Fontaine. Yes, I repeat, especially the lithograph; and this is not the fault of the artist, but of the method. En- gravers will easily understand this. In the chalco- graphic impression, when — after having filled the lines engraved on the copper with printing-ink — you burnish with the hand the surface of the metal, a light shade always remains in the mezzo-tinto and darker parts; that shade renders the lines more soft and harmonious. In the lithographic impression 105 ETIENNE FICQ.UET the interstices between the lines and the points re- main always pure white — the white of the paper entirely uncovered. Another defect (not of the lithograph, but of the lithographic artist) is the fol- lowing: The chalcographer, in taking proofs of his work, uses them to direct him in giving the final touches, diminishing or increasing the tints; the lithographer, on the contrary, having obtained his first proof, can only, with the stroke of the burin, subdivide any point heavier than required, but he cannot add anything. Therefore, it being impossi- ble to produce in his work the necessary harmony, he is compelled to resort to innumerable retouch- ings of each print. For this reason lithographs, when finished, are more expensive than the nature of the work would lead one to suppose. When La Fontaine's portrait can be copied by lithography in such a manner that, seen at a distance, it may appear for a moment the original by Ficquet, I will at once advise my pupils to abandon chal- cography and devote themselves entirely to the art of lithography; and, moreover, I will do the same." The writer is indebted for assistance in this trans- 106 ETIENNE FICQ.UET lation from the Italian of Longhi, to General L. P. di Cesnola, Director of the Metropolitan Museum of Art. 107 LIST OF PORTRAITS LIST OF PORTRAITS ENGRAVED BY ETIENNE FICQ.UET Addison, Joseph. Engraved for a French edition of "The Spec- tator." Apellans (Les). Portraits of the four Bishops of Mirepoix, Montpel- lier, Senez and Boulogne, seated at a table. Only the heads are engraved by Ficquet. Ariosto, Ludovico. Engraved for an edition of " Orlando Furioso " published by Baskerville, 1775. Ariosto, Ludovico. A smaller reproduction of the above. Arland, Jacques-Antoine. Published by Descamps, IV, p. 116. Auvergne, Charles de Valois, Comte d'. Published by Odieuvre. Backhuizen, Ludolf (Louis). Descamps, II, p. 443. Balen, Henri Van. Descamps, I, p. 237. Balue, Cardinal Jean. Odieuvre. Beck, David. Descamps, II, p. 313. Berchem, Nicolas. Odieuvre. Berghem, Comeille (same portrait as above, with another inscrip- tion). Odieuvre. Bernard (Due de Saxe-Weimar). Odieuvre. Bernier, Nicolas. Odieuvre. Bernouilli, Jean. Odieuvre. Beze, Theodore de. Bisschop, Jean de. Descamps, III, p. 184. Block, Joanne Koerten. Descamps, III, p. 273. 1 1 1 LIST OF PORTRAITS Boileau, Nicolas Despreaux. Boomer), Arnold. Descamps, IV, p. 137. Bossuet, Jacques Benigne. Brandenburg, Jean. Descamps, IV, p. 23. Brandmuller, Gregoire. Descamps, IV. p. 3 1 . Broussel, Pierre de. Odieuvre. Brauwer, Adrien. Descamps, II, p. 128. Bruin, Corneille de. Descamps, III, p. 297. Charles XII. Odieuvre. Chabannes, Antoine de. Odieuvre. Charles Frederic III. Odieuvre. Chaubert, Ludovicus. Chaulieu, Guillaume Amfrie de. Odieuvre. Chennevieres, De. Cicero, Marcus Tullius. Engraved to illustrate an edition of Ci- cero's " De Amicitia," published by Barbou, 1771. Coques, Gonzales. Descamps, II, p. 262. Corneille, Pierre. N. B. — E. Gaucher made a good copy of this portrait and Droyer a very bad one. Courayer, Pierre Francois le. Odieuvre. Crayer, Gaspard de. Descamps, I, p. 350. Crebillon, Prosper Jolyot de. Denner, Balthasar. Descamps, IV, p. 253. Descartes, Rene. Deyster, Louis de. Descamps, III, p. 336. Dortous de Mairan, Jean Jacques. Published at Geneva, 1 74S. Dow, Gerard. Descamps, II, p. 216. Dujardin, Karl ou Karel. Descamps, III, p. 111. Dullaert, Heiman. Descamps, III, p. 47. Dumolin, Charles. Odieuvre. Dunz, Jean. Descamps, III, p. 175. Duquesne, Abraham. Odieuvre. LIST OF PORTRAITS Duval, Robert. Descamps, III, p. 172. Dyck, Antoine van. Descamps, II, p. 8. Eeckhout, Gerbrandt van den. Descamps, II, p. 327. Eisen, Charles. Engraved for a frontispiece to the 2nd vol. " Contes de la Fontaine," Amsterdam, 1762. Elias, Mathieu. Descamps, III, p. 377. Estrees, Gabrielle d'. Odieuvre. Everdingen, Albert van. Descamps, II, p. 319. Faes, Pierre van der. Descamps, II, p. 256. Fagon, Guy Crescent. Odieuvre. Farnese, Alexandre. Odieuvre. Fenelon, De Lamothe. Published in 1 778 and sold by Ficquet for 3 francs. Flavigny, Francois Paul Jerome de Geps de. Flinck, Govaert. Descamps, II, p. 246. Fontaine, Jean de la, 1 . Copied by Macret, reversed ; also by La Chaussee. Fontaine, Jean de la, 2. Engraved for a frontispiece to the 1st vol. " Contes de la Fontaine," Amsterdam, 1762. Fontanges, Duchesse de. Odieuvre. Genoels, Abraham, lejeune. Descamps, III, p. 92. Harcourt, Comte de (Henry de Lorraine). Odieuvre. Heem, Jean David de. Descamps, II, p. 37. Helmont, Zeger Jacques van. Descamps, IV, p. 236. Heist, Bartholme on Barthelmey van der. Descamps, II, p. 199. Hoet, Gerard. Descamps, III, p. 232. Hondekoeter, Melchior. Descamps, III, p. 44. Hondius, Abraham. Descamps, III, p. 280. Hoogstraten, Jean van. Descamps, II, p. 407. Hoogstraten, Samuel van. Descamps, II, p. 383. Houbraken, Arnold. Descamps, IV, frontispiece. Huber, Jean Rudolph. Descamps, IV, p. 125. >'3 LIST OF PORTRAITS Huysmans, Corneille. Descamps, III, p. 241. Huysum, Jean van. Descamps, IV, p. 229. Kalf, Guillaume. Descamps, II, p. 431. Kneller, Godefroid. Descamps, 111, p. 22s. Kupetzki, Jean. Descamps, IV, p. 95. La Cour, Jacques de la. La Cour, Michel de la. Lairesse, Gerard de. Descamps, III, p. 101. Le Vayer, F. De la Mothe, 1 . Le Vayer, Francois De la Mothe, 2. Lanfranc. Odieuvre. Liebnitz, Godefroi Guillaume. Published at Geneva, 1745. Lingelbach, Jean. Descamps, II, p. 372. Louis V. Odieuvre. Louis VII. Odieuvre. Louis Quinze. Engraved for the "Almanach Parisien de Barbou. Maimbourg, Louis. Odieuvre. Maintenon, Francoise d'Aubigne, Marquise de. Melder, Gerard. Descamps, IV, p. 280. Merian, Marie Sibylle. Descamps, III, p. 200. Meulen, Antoine Francois van der. Descamps, III, p. i. Miekis, Francois van. Descamps, III, p. 13. Mieris, Guillaume van. Descamps, IV, p. 4s. Mignard, Pierre. Odieuvre. Miramion, Marie Bonneau, Dame de. Odieuvre. Moliere, Jean Baptiste Poquelin de. Montaigne, Michel de. Moor, Charles de. Descamps, III, p. 328. Moucheron, Isaac. Descamps, IV, p. 153. Muret, Marc Antoine. Musscher, Michel van. Descamps, III, p. 181. Myn, Hermann van der. Descamps, IV, p. 24s. 114 LIST OF PORTRAITS Netscher, Theodore. Descamps, IV, p. 38. Oost, Jacques van. Descamps, III, p. 55. Orley, Richard van. Descamps, III, p. 300. Ossat, Amaud d'. Odieuvre. Ovens, Jurien. Descamps, II, p. 279. Overbeck, Bonaventure van. Descamps, IV, p. 7. Pare, Ambroise. Odieuvre. Plas, David van der. Descamps, III, p. 213. Pool, Rachel Ruisch van. Descamps, IV, p. 65. Pope, Alexandre. See Addison and Steele. Prevost, Antoine Francois. Odieuvre. Pucelle, Rene. Odieuvre. Pufendorff, Samuel. Engraved for his " History of the Uni- verse." Pynaker, Adam. Descamps, II, p. 317. Regnard, Jean Francois. Rickaert, David, Le Jeune. Descamps, II, p. 233. Rigaud, Hyacinthe. Odieuvre. Robert XXXVl e Roy de France. Odieuvre. Rokes, Henry, surnamed Zorg. Descamps, II, p. 322. Rombouts, Theodore. Descamps, I, p. 425. Roore, Jacques de (called Rorus). Descamps, IV, p, 262. Roos, Jean Henri. Descamps, IV, p. 437. Roos, Philippe. Descamps, III, p. 319. Rousseau, Jean Baptiste. Rousseau, Jean Jacques. Rubens, Pierre Paul. Descamps, I, p. 297. Rugendas, Georges Philippe. Descamps, IV, p. 78. Saugrain, Guillaume Claude. Savery, Rolant. Descamps, I, p. 293. Schalken, Godefroy. Descamps, III, p. 138. Silva, Jean Baptiste da. 115 LIST OF PORTRAITS Steele, Richard. This plate, with those of Pope and Addison, was made for a French edition of " The Spectator." Steen, Jean. Descamps, III, p. 26. Swift, Le Docteur. Engraved for a work upon the life and writ- ings of Swift by the Count d'Orreri. Teniers, David le jeune. Descamps, II, p. 153. Terburg, Gerard. Descamps, II, p. 123. Terwesten, Augustin. Descamps, III, p. 24s. Terwesten, Mathieu. Descamps, IV, p. 144. Tideman, Philippe. Descamps, III, p. 369. Tillemans, Simon Pierre (sumamed Schenk). Descamps, II, p. 123. Torenvliet, Jacques. Descamps, III, p. 121. Toulouse, Louis Alex de Bourbon, Comte de. Odieuvre. Vade, Jean Joseph. Vaillant, Jacques. Descamps, II, p. 405. Vaillant, Wallerant. Descamps, II, p. 331. Vavasseur, Guillaume. Odieuvre. Velde, Adrien van den. Descamps, III, p. 72. Verkolie, Jean. Descamps, III, p. 257. Verkolie, Nicolas. Descamps, IV, p. 168. Verschuring, Henri. Descamps, II, p. 394. Vinne, Vincent van der. Descamps, II, p. 417. Virgile. Engraved for an edition of his works. Voet, Charles Bosschaert. Descamps, IV, p. 158. Vollevens, Jean. Descamps, III, p. 251. Voltaire, Francois Marie Arouet. Voorhout, Jean. Descamps, III, p. 207. Vuez, Arnold de, or Van Wez. Descamps, III, p. 125. Waser, Anna. Descamps, IV, p. 202. Weenix, Jean. Descamps, III, p. 164. Weenix, Jean Baptiste. Descamps, II, p. 306. 116 LIST OF PORTRAITS Werdmuller, Jean Rudolf. Descamps, III, p. 85. Werf, Adrien van der. Descamps, III, p. 383. Werner, Joseph le Jeune. Descamps, III, p. 61. Wildens, Jean. Descamps, I, p. 336. Wolters, Henriette. Descamps, IV, p. 272. Wouverman, Philippe. Descamps, II, p. 286. Wulfraat, Mathieu. Descamps, III, p. 218. Zacht-Leeven, Herman. Descamps, II, p. 146. Zacht-Leeven, Corneille. Descamps, II, p. 195. LIST OF PORTRAITS ENGRAVED AND PUBLISHED BY PIERRE SAVART Alembert, Jean le Rond de. Bayle, Pierre. Bernis, Francois Joachim de Pierre. Boileau, Nicolas Despreaux, 1. Boileau, Nicolas Despreaux, 2. Bossuet, Jacques Benigne. Bruyere, Jean de la, 1. Bruyere, Jean de la, 2. Buffon, George Louis Leclerc, Comte de. Catinat, Nicolas de. Chevert, Francois de. Chaulieu, Guillaume Amfrie de. Christian VII, King of Denmark and Norway. Colbert, Jean Baptiste. Conde, Louis de Bourbon, Prince de. Deshoulieres, Antoinette de la Garde. Fenelon, Francois de Salignac de Lamotte. Fontaine, Jean de la. 117 LIST OF PORTRAITS Fontenelle, Bernard de. Leibnitz, Godefroi Guillaume. Livry, Nicolas de. Louis, Le Grand. Louis XVI, King of France and Navarre. Louis Auguste (16th), King of France. Marie Antoinette, Queen of France. Montalembert, Marc Rene Mis de. Montesquieu, Charles Secondat de. Rabelais, Francois. Racine, Jean. Richelieu, Armand du Plessis, Cardinal de. Rousseau, J. J. Stanislas, Roi de Pologne. Tasso, Torquato. NDEX INDEX Addison Aquatint Aquatinte . Au pointille . Babel . . Baldini, Baccio Balechou Barbou, "Almanach sien " Bartolozzi, F. Bartsch . Basan, Pierre-Franco Bayle . . . Berchem Bewick, T. . Boileau . Bossuet 79, 80, 84, Botticelli, Sandro Boucher, F. . Brauwer Breydenbach, B. de Bryan, " Dictionary ' Buffon . . . Bylaert . Callot, Jacques Catinat, Nicolas 73 • 36 • 3* 20-23 . 64 6 62, 105 Pari- • 73 23, 104 9 69, 91 • 73 • 39 79,80 9i, 9 2 , 9} 6 2 3 73 '3 '3 2 3 Cesnola, Gen. L. P. di Chalk engraving Choffard, P. P. . . Claude .... Cochin, C. N. . Colbert Conde, Prince de Copper-plate engraving Cousin, Jean Crayer, Gaspard de . De Heem Denner .... Descartes Deshoulieres, Madame Dow, Gerard Drevet . Dry den, J. . Dry Point . Duchesne Aine, les Nielles " Duplessis, G., ' la Gravure," Diirer, Albert Duvet, Jean 107 23 53, 60 20 60 79, 80 80 14-20 '3 73 73 73 6 9, 9} 73, 80 74, 80 Earlom, R. • • 58, 74 • 57, 58, 105 • • • 93 . . 25, 26 " Essai sur " . " . " 9 Histoire de 26 , 53, 57, 74, 83, 84, 91 • • 9, 23, 39 • ■ '3, '4 104 INDEX Edelinck, G. . . 48, 63 Eisen, C. . . . 50, 62 Engraving. Origin and early history . . . .5-14 Engraving. Description of various processes '4-42 Etching . 24, 25, 41, 103 Evelyn, J., " Diary," . 35 Faucheux, M. L. E. 49, 54, 61, 73, 19, 80, 91 Fenelon . . 79, 80, 93 Ficquet, Etienne 24, 48, 49-73, 95-106, 109-1 17 Birth and Education 49 Plates to La Fontaine 50, 53, 99->03 Portrait of Madame de Maintenon . . 55, 56 Anecdotes of 53, 54, 57 Methods and character of his work . 57—59 Series of portraits pub- lished by Odieuvre 60-67 Death .... 67 Portraits engraved by 67 Market value of prints 70 Longhi's estimate of 95-106 List of portraits en- graved by . . 109-1 17 Fielding, T. H. "Art of Engraving " . . 16, 23 Finiguerra, Maso . 6, 8, 9 Fragonard . . . . 57 French, E. Davis . . 31 Gaultier, Leonard ^ Geminus, Thomas . . 10 Grateloup, Jean-Baptiste de 48, 83-93 birth and education 83 secret process used by 87 portraits engraved by 88 opinions of critics on his work . . 91 death .... 92 market value of prints 92 list of portraits en- graved by . .• . 93 Grateloup, J. P. S. de 87, 92 Gravure a la maniere noire 28-36 Gravure a la pointe seche 25, 26 Gravure a l'eau forte 24, 25, 41 Gravure au burin '4-20, 41 Gravure en demi-teinte 28-36 Gravure en maniere de crayon .... 23 Gravure en maniere de lavis 36-39 Gravure en taille de bois 39-41 Gravure en taille douce 14-20 Gutenberg, John . . 6 Haden 20 Hamerton, P. G. 19, 24, 26, 27 Heinecken, Baron . 8 Houbraken .... 73 Jansen . . . . 37, 41 Joly 9' Jombert, Charles-Antoine, 68 Jonas, Richard . . . 10 Koburger, Antony . . 10 Kneller 73 & D 3? INDEX La Bruyere .... 80 Nyon 64 La Fontaine 53, 69, 70, 74, 99-103, 105 Odieuvre, Michael . 60-67 Lasne, Michael 6} Ottley 9 Le Bas, Jacques Philip 24, 50 Le Clerc, Sebastian . . 48 Papillon, "Traite de la Lecouvreur . Leibnitz Leu, Thomas de Lewis, F. C. Line engraving . 93 Gravure en Bois " . 41 74 Petitot 84 63 Pleydenwurff, William . 10 38 Poilly 62 14-20, 41 Polignac ... 88, 93 Lithographie 41, 42, 104-106 Ponce, Nicolas . 53, 57, 60 Lithography 41, 42, 104-106 Pope, 73 Livry, Nicolas de . . 80 Portalis, Baron Roger Longhi, G., extracts from 49, 53, 58, 73, 79, 88, 91 " La Calcografia " 95-106 Potter, Paul ... 37 Louis XV ... 7?, 79 Prevost 69 Louis XVI .... 80 Prince, Jean Baptiste le 38 Maberly, J., " Print Col- Rabelais .... 80 lector" .... 7 Racine . . . . 79, 80 Maintenon, Madame de 53, 54, Radier, Dreux de . . 63 103 Raimondi, Marc Antonio . 6 Mantegna, Andrea . . 6 Ravenet, Simon Francis . 23 Marie Antoinette . . 80 Rawlinson, W. G., "Turner's Mellan 03 ' Liber Studiorum ' " . 35 Meryon, Charles . 20, 48 Rembrandt ... 20, 37 Mezzotint . . 28-36, 104 Richelieu .... 80 Mignard, Pierre . . 53, 73 Rogers, S., " Poems" . 20 Moliere 70 Rousseau, J.J. . 6o, 79, 93 Montaigne .... 09 Rubens . . . 73, 103 Montesquieu ... 93 Rupert, Prince . . 32, 35 Morgan, Junius S. 5 Ruskin, J., "Modern Painters "... 20 48, 58 Ryland, William Wynne 73 23, 50 Nanteuil, Robert Netscher Niello . . . Nuremberg Chronicle . 10 St. Non. Abbe R. de 37 123 INDEX Sandby, Paul Savart, Pierre . . 38 48, 6 9> 73-83 Swift, Birth and marriage . 74 First engraving by . 74 Adopts a new manner 79 Work deteriorates . 79 Portraits engraved by 80 List of portraits en- graved and published by 117, 118 Schmidt, George Frederick 49, 50, 60, 62 Schoen, Martin . Senefelder, Alois Siegen, Ludwig von Soft ground etching Steele . Steen, Jan . Stipple . Stockton-Hough, Dr Strange, Robert . 20-23, 9 4' 32 27 73 73 104 1 1 50 Tardieu, Nicolas Teniers, D. . Terburg Turner, J. M. W Vander Velde Van Dyck . Van Huysum Van Mieris . Vasari . Vertue, George 23 . . 50 • • 73 • • 73 25, 35, 38 • • 73 • 73, '°3 • • 73 • • 73 • .6,7 10 Wille .... 62, 105 Wohlgemuth, Michael . 9, 10 Wood engraving 39-41 Wouvermans ... 73 Xylography 39—41 Zani, Abbe .... 9 Zegers, Hercule . . . 37 ERRATA Page 36, line 17: for a l'eau forte pur, read a I'eau forte pure. Page 68, line 2 : for Flamandes read Flamands. Page 70, lines 18 and 22 : for pur read pure. |1V» ^ IUJJ *» 3*. *p O, * c N O * .0 ^ * S | 1 * *6* V *, D> ^ ^ \* ^> f° *0 V »1*°' > o. A <. v <.. s* .G v via *o.»« A ■ ■ 6 -V . \>>, **